The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.

When I was a kid, three years old, I couldn't walk by the piano without reaching up and trying to play a few notes on it. There are kids who are just drawn to listening to music and dancing to it and trying to conduct.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

The big difference between human happiness and sadness? Thirty-seven freakin' vibrations.

Pop music, which I deeply admire and wish I could play better than I can, is based on expressing one mood, one feeling at a time. Classical music is by its very nature involved with different kinds of music, constantly transforming one another, which is more akin to the way our experience of life really is.

When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.

Extreme volume in music very often disguises a lack of actually important content.